Free For All

I think the others have explained this adequately. I guess my main gripe is that I just don't like underdone breakfast meats of any kind. I'm not saying it has to be burned, but I like it a little crispy. I sometimes fry slices of ham for breakfast and like to get them fairly well done. Bev, I think you need to experience a nice maple-smoked, thick sliced peppered bacon cooked medium-well and I think you'd see what I'm talking about. The crap you get in hotels in the US is not indicative at all. I guess with all that is going on in the world my little bacon rant is less than significant. Just trying to do my part for whirled peas.

It was incredibly boomy and extremely hot. From what I was told the sound (especially where a big band is concerned) was much better in the back, and worsened as you moved towards the front. The sound crew wanted to mic EVERYONE in the group as well as many drum mics, but we were able to talk them out of doing that and just used mics for soloists. It's always dangerous to put your ensemble sound so completely in the hands of a sound person unless you know how they work.

I'm inclined to think of it not as a LACK of tension, but more as a lack of VARIATION in the tension-release way of thinking. There is often little to differentiate between head and solos on bop tunes, and the solos can contain little or no variation in texture/density. If a bop era player approached solo construction the same way as a post-bopper (more pacing, use of space, periods of less activity) they probably would have been ostracized by their peers and the public. I try to look at the bop period as something that was a reaction to swing; I think the perceived lack of textural contrast in the bop solo style takes a back seat to the importance of the increased level of harmonic awareness that came about. Bebop wasn't perfect by any means- for a "revolutionary" type of music it was defined by fairly conservative parameters- but I think it was an integral step in the evolution process. I think of the influence of the bop style as one element of my playing- I don't want to be a "Bird clone" (not that I ever could) but since studying bop was an integral part of my musical education, I don't want to deny or overlook its influence. Plus, it's fun to play! With all that has happened since it's easy to look back on the bop style as one-dimensional; it sure would have been interesting to live in that era and see how we all reacted to it initially!

Actually, Rooster, what I meant by "the sometimes stagnant world of changes" didn't refer to the number or frequency of chords in a given tune, but more the type of playing where one just incessantly "runs the changes", which often results, IMHO, in less interesting listening. This can happen in modal (less harmonically "busy") tunes as well as more complex bop-type tunes. I think THAT is the complaint many have w/bebop- the solos are often mechanical and workmanlike, lacking in melodic content or rhythmic variation. Obviously, bop heavies like Bird were exceptions to this, although I've heard recordings of even the big stars who seemed to be "phoning it in" at times. Don't get me wrong- I'm a big bop fan and some of the most important development in my own playing came about from a summer long ago I spent playing w/the Bird play-along. The heads are like jazz etudes and dealing with the changes led to some harmonic revelations to be sure. Bebop was "music for musicians" to a great extent, a huge contrast to the Swing era styles, and alienated the audiences to a degree by excluding them from the "inner circle". As I've said before, I think it's important to have a balance of "entertainment' and "education" in any performance. I think there has to be an element of accessibility to "pull the audience in" that co-exists with the spirit of exploration which serves to artistically satisfy the players. Of course, things that fall into the "accessible" category certainly don't have to be void of artistic satisfaction. Connecting w/an audience is obviously a HUGE source of inspiration- I just think that once you establish a level of "trust" you can slip in something maybe they haven't heard before and they might be more inclined to listen with an open mind and open ears.

Learning tunes in all keys is one of those things that we are told we "should" do. I certainly don't obsess on it, but I do enjoy playing tunes, esp. familiar ones, in alternative keys. It can be as simple as splitting the tune in half, like Bill Evans did with Days of Wine and Roses, doing the tune in F and Ab. Or you can alternate keys for the whole chorus- I sometimes play My Shining Hour by alternating the keys of C and Eb each chorus. Or you could do a pattern like C-Eb-Ab-Db, or whatever you like! One issue with this is communicating your intentions to the rhythm section, since part of the fun in doing this is the element of spontaneity. Or you can simply plan it out in advance. Sometimes (as I said before) I'll simply play with the drummer alone for a while so I can create my own little harmonic world. That's what I envy about pianists- they can compliment their solo lines with the perfect accompanimental choices. Think about it-when a pianist solos, he's playing only w/bass and drums; you see why horn players like to do that sometimes? Of course when you develop an affinity with a rhythm section they can learn to read your mind, which is often a beautiful thing. Sometimes not.... When I practice in other keys I feel the rewards exist on multiple levels- I feel like the original key has a new clarity for me, and finesse in multple keys certainly comes in handy when employing substitute changes or chromatic side-slipping. I'm so tired of playing Rhythm changes in Bb- this of course is my problem and not a fault with the music. But it IS fun to play in some other keys- I like F, Ab or Eb, for starters. I also think you can divide tunes into phrases- for example you can play pretty much whatever you'd like on the A section of a Rhythm changes as long as you create some sort of rhythmic or harmonic cadence to seperate the sections. Or you could "take it out" all the way to the bridge. It's just the concept or tension-and-release. For me, too much tension w/o release gets as tiresome as too much consonance- everyone has their own threshold regarding this area. I also like it when rhythm sections "pedal" (usually on the V) on the A section of Rhythm tunes- it gets away from the repetative cycle of chords, and when you return to the changes they are fresher sounding. While none of these things are earth-shaking revelations by any means, they ARE some little things that help to create at least a little variation in the sometimes stagnant world of changes.

Wow! Instant Sun Ra collection!

I'm a big fan of EW&F. It was horn bands like them as well as Chicago, The Crusaders, Tower of Power and BS&T that started me down the path to jazz in the 70s. My favorite recording would have to be All 'N All. Fantasy, Serpentine Fire as well as tunes from other recordings including That's The Way Of The World, Getaway, Shining Star are all favorites. The Greatest Hits CD (cranked, of course) was a party favorite back in the 80s. I hear their live show is awesome. I've not seen them live but I'm sure you'll have a good time ss1- let us know how it was!

Once when I was in grad school I was practicing with a play-along CD and noticed my roomate's cocker spaniel was sitting in the doorway, apparently listening. I continued playing and when I looked again the dog was gone but he had left a steaming little pile on the carpet. Everybody's a critic..............

Bob Brookmeyer & Kenny Wheeler "Island" w/John Hollenbeck (drums), Jeremy Allen (bass) and Frank Carlberg (piano) (this includes a DVD with interviews, a documentary of the session and downloadable music- I haven't checked it out yet, but the music is great!) Hank Jones "The Definitive Black and Blue Sessions" w/George Duvivier and Oliver Jackson Michel Pettruciani Trio "Live At The Vanguard" w/Palle Danielsson and Eliot Zigmund Both trio sides are excellent. All good purchases.

Damn! If only I'd have played just a little better!

Woody was always pro-education, he loved to mix it up w/the young players. That certainly makes sense considering the way he raided the various college jazz programs to find players. I think Stan Kenton was maybe one of the first big band leaders to really push the clinic thing. I certainly was influenced by the accessibility of the Woody guys, especially of the 70s era. I remember going back to my high school and talking of the various big band guys as if they were rock stars (they were to me). I couldn't wait to experience the "glamour" (the "U" is in respect of my UK trip) of the road.

Well, Big Wheel, I was more or less talking about the harmonic content, but you are absolutely right, I can see where the groove can get repetitious. I know sometimes rhythym sections will go into a walking swing groove on this tune, but there must be more options than that. I always am happy when a drummer playing this type of groove gets interactive and plays more soloistically than repetatively- know what I mean? Actually what you said brings up a good point- playing on a tune like St. Thomas should be about more than changes/bop playing- the rhythmic content should be just as important. I'm not citing this tune as a example of an ultimate improvisational vehicle (in Missouri that word is Vee-Hickle) but more a tune that is simplistic harmonically and requires somes creativity to keep interesting. BTW, Big Wheel, what instrument do you play? Try playing St. Thomas in a whole buncha keys. I thought that was a fun thing. Try modulating chromatically, by fourths and by random key changes. That's what breathed new life into the tune for me. But I'm an idiot who's easily entertained- your mileage may vary. B)

Sometimes when a tune is called that I'm bored with I'll try to think of a way to do something different. Recently I had to play on St. Thomas, a great tune but after 2-3 solos there's not much to say (unless you're Sonny, which I'm not). So I had the bass and piano cut out and played several choruses w/just the drummer, changing keys each chorus. That was fun (on a couple of the key changes I kicked my own ass) and it just goes to show that you can find something new to do on any tune.

Actually, Rooster (BTW, you said you were crashing and yet it's 2AM and here you are! You are a hanger!), there's a reharmonized version of Autumn Leaves that has some cool chromatic ii/Vs in the first eight bars (those of you that know what I'm talking about, please step in) that make it a whole new tune. Please understand I'm with you on this "tired Real Book Tunes" subject, but for many of the examples you cite, I can think of a recording that breathes life into the tune, and I will be happy to make you a CDR of all the tunes you despise, being played with conviction and inspiration. As I said, I just think of this as a lack of inspiration on the part of the player, as opposed to an inherent tune weakness.

I tend to be of the type who says "it's the player, not the tune". I know of specific tunes I'll avoid calling because I'm tired of them, not because it's a lame tune but because my creative well is currently dry regarding that specific tune. Then I'll listen to Miles or Sonny or someone tear it up and think "now why couldn't I do that?". Every time I swear I'll NEVER play something like "Funny Valentine" I hear some recording that kicks my ass. I think if you can call a tune that's overplayed with the intention of resurrecting it and even partially succeed, well, then you're doing something right. That being said, if I NEVER play "Another You" again it won't break my heart........

My ass was on fire the last time I hit the Anchor Bar in Buffalo for some hot wings (but that's another story....) Great to hear about Arno, thanks. I think it's amazing Frank Tiberi is near that age and still is playing like a kid who doesn't know no better. God bless these guys, they're disappearing too fast!

I've never met Arno, Jim, but I sure know who he is! How's he doing? I know the music scene in Vegas has really dried up. I was out there about a year ago to visit Carl Fontana, who is battling Alzheimer's. Man, Vegas has sure changed since I played there with the band. Now it's like a Disneyland for gamblers. Bring the family, lose the farm.......

Oh, I was TOTALLY in the minority, so much so that there was no negative vibe at all. We played funky clubs in East St. Louis, south side Chicago, Memphis, Dayton; I was the only white guy in the group and I had the time of my life! I remember many of my jazz heroes talking about paying dues on blues bands, so when I got the opportunity I grabbed it. Living in Iowa and culture-starved, I guess. The only downside was that being a horn player in a blues band you were relegated to riffs and not much soloing, but I really dug listening to Albert every night. I just recently bought a copy of "Born Under A Bad Sign" in a fit of nostalgia. I didn't realize 'til later just how heavy he was. Plus I learned to blow in the keys of E, B, A, D, etc......................

Just FYI, here's a partial list of people I've gotten to meet/play with as a result of being a member of Woody's band: Al Cohn Bill Perkins Zoot Sims Billy Mitchell Clark Terry Dizzy Gillespie Billy Eckstein Tony Bennett Nancy Wilson Cab Calloway Joe Williams Mel Torme Maynard Ferguson Benny Carter Pepper Adams Jake Hanna Carl Fontana Conte and Pete Candoli Louie Bellson Jack Lemmon (sitting in on piano!) and more I'll probably think of....... Please understand, I'm not bragging, but am extremely grateful for my opportunities!! So many of these cats are gone now, I really cherish these experiences. If you want to know something REALLY bizarre, my first road gig was a brief stint with Albert King! For a kid from Iowa, this was REALLY culture shock!

VERY old!!

My complaint with this is the use of the word "transitioned". The last time I checked, this word was a noun and not a verb. I've recently heard it used as a verb a lot i.e., "The regime in Iraq has transitioned to a new era." I'm not someone who obsesses over language abuse or spelling, but sometimes the lack of language skills (in the media especially) makes me go NUCULAR, IRREGARDLESS of context!!!!

Thank you, catesta. It also works well as a coaster, or if you have a wobbly table.............

Hi Rooster- No, I didn't make it to the Victoria and Albert museum but we did stop at Stonehenge (insert Spinal Tap jokes here). Yes, mostly non-British ethnic food (except for fish and chips, of course) is the way to go. I've never been able to figure out that whole "blood sausage" thing. We stayed at a hotel right across from Chinatown, so great meals were not a problem. Some great Indian and Italian near the club, too. Did you go to Ray's when you were there? I don't think the latest incarnation is as hip. Where the hell did that picture come from??? It's from a jazz camp I do in Wisconsin. Beside me in the section is trombonist Steve Weist and the shaved-headed guy is Chicago saxophonist (now relocated to New Orleans) Ed Peterson. I don't know if this "coming out" was such a good idea.........

Gulp.......yeah...that CD was, among other things, my opportunity to record with my hero, the great Carl Fontana. Lovely picture, too. I feel so naked..........but buy the CD anyway!!

OK, I guess I'll come out. I am an anonymous trombonist by the name of Paul McKee. I was over there playing w/the Woody Herman band- I first played with them in 1984 when Woody was still fronting the group. Now Frank Tiberi fronts the band (which I guess you'd have to call a "ghost band", a term I hate). Frank Tiberi is an amazing musican who, in his mid 70s, is continuing to play his ass off. Back when I joined in 1984, the band was out on the road an average of 46 or so weeks a year- it's much more of a part-time gig now, but the standards of quality have not changed. It's an honor to play with some of the greatest players I know in this band. Plus, I've had some AMAZING "brushes w/greatness" by being a member. Like the membership of this and the defunct BNBB, it's one of the greatest dysfunctional families to be associated with. There, I came out. Be kind.